Sean Wilentz


Born
in New York, New York, The United States
February 21, 1951

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Sean Wilentz is the George Henry Davis 1886 Professor of American History at Princeton University. His many books include The Politicians and the Egalitarians: The Hidden History of American Politics (2016); Bob Dylan in America (2010); and The Age of Reagan: A History, 1974–2008 (2008). The Rise of American Democracy: Jefferson to Lincoln (2005) was awarded the Bancroft Prize, and he has received two Grammy nominations for his writings on music.

Average rating: 3.81 · 18,979 ratings · 1,783 reviews · 51 distinct worksSimilar authors
The Rise of American Democr...

3.96 avg rating — 1,788 ratings — published 2005 — 5 editions
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Bob Dylan in America

3.84 avg rating — 1,677 ratings — published 2010 — 14 editions
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Andrew Jackson

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3.91 avg rating — 587 ratings — published 2005 — 4 editions
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The Age of Reagan: A Histor...

3.57 avg rating — 413 ratings — published 2008 — 10 editions
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Chants Democratic: New York...

3.75 avg rating — 210 ratings — published 1984 — 8 editions
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The Rose and the Briar: Dea...

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3.92 avg rating — 181 ratings — published 2004 — 3 editions
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The Politicians and the Ega...

3.51 avg rating — 108 ratings — published 2016 — 5 editions
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No Property in Man: Slavery...

3.92 avg rating — 87 ratings — published 2018 — 6 editions
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360 Sound: The Columbia Rec...

3.84 avg rating — 49 ratings — published 2012 — 2 editions
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Major Problems in the Early...

3.67 avg rating — 39 ratings — published 1991 — 2 editions
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“The Gates of Eden,” as he called it that night, took us furthest out into the realm of the imagination, to a point beyond logic and reason. Like “It’s Alright, Ma,” the song mentions a book title in its first line, but the song is more reminiscent of the poems of William Blake (and, perhaps, of Blake’s disciple Ginsberg) than it is of Tolstoy’s War and Peace, vaunting the truth that lies in surreal imagery. After an almost impenetrable first verse, the song approaches themes that were becoming familiar to Dylan’s listeners. In Genesis, Eden is the paradise where Adam and Eve had direct communication with God. According to “Gates of Eden,” it is where truth resides, without bewitching illusions. And the song is basically a list, verse after verse, of the corrosive illusions that Dylan would sing about constantly from the mid-1960s on: illusions about obedience to authority; about false religions and idols (the “utopian hermit monks” riding on the golden calf); about possessions and desire; about sexual repression and conformity (embodied by “the gray flannel dwarf”); about high-toned intellectualism. None of these count for much or even exist inside the gates of Eden. The kicker comes in the final verse, where the singer talks of his lover telling him of her dreams without any attempt at interpretation—and that at times, the singer thinks that the only truth is that there is no truth outside the gates of Eden. It’s a familiar conundrum: If there is no truth, isn’t saying as much really an illusion, too, unless we are all in Eden? (“All Cretans are liars,” says the Cretan.) What makes that one truth so special? But the point, as the lover knows, is that outside of paradise, interpretation is futile. Don’t try to figure out what the song, or what any work of art, “really” means; the meaning is in the imagery itself; attempting to define it is to succumb to the illusion that truth can be reached through human logic. So Dylan’s song told us, as he took the measure in his lyrics of what had begun as the “New Vision,” two and a half miles up Broadway from Lincoln Center at Columbia, in the mid-1940s. Apart from Dylan, Allen Ginsberg and Gregory Corso may have been the only people in Philharmonic Hall who got it. I”
Sean Wilentz, Bob Dylan in America

“Bound for Glory,”
Sean Wilentz, Bob Dylan in America



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